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ED 284 310 CS 505 645 AUTHOR Burns, Gary TITLE Historical Development of Television Aesthetics/Television Theory. PUB DATE 4 Apr 85 NOTE 27p.; Paper presented at the Annual Meeting of the Popular Association (Louisville, KY, Apr41 1985). PUB TYPE Information Analyses (070) -- Speeches/Conferenct Papers (150)

EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS *Aesthetic Values; Cultural Influences; Mass Media; *; Technological Advancement; *Television; Television Research; Theories IDENTIFIERS Aesthetic Response; *Television ; Television Role; *Television Theory ABSTRACT Even though television scholar Herbert Zettl singlehandedly created the term "television aesthetics" by proclaiming that TV is an art, television studiesare still excluded from the respectable divisions and disciplines of knowledge. Television is considered the epitome ofmass culture/kitsch, and the very idea of a TV "masterpiece," for example, is improbable. "Television theory" would be a preferable label fora field of study that has been developing in isolated strands since the 1930s,and which can be divided into roughly four stages: (1)through the early 1950s--the main theoretical question was whether TV is itselfan art or merely a "transmission device" for the other arts; (2) early 1950s to early 1960s--the of TV proved that its dramatic form can be artistically powerful; (3) early 1960s to early 1970s--TV penetration into American homes reached 99% by the 1970s; and (4) early 1970s to the present-- art and low-cost technology proliferated. Marshall McLuhan noted that most thinkingabout a new medium is done in terms of old media. As television theorydevelops, new concepts of what TV is, how it got to be that way, why it remains that way, and how and why to change it, will be formulated. (Footnotes, a very extensive chronological bibliography ofworks related to television theory, and a comprehensive list of production books and dissertations are appended.) (NNA)

*********************************************************************** Reproductions supplied by EDRS are the best thatcan be made from the original document. *********************************************************************** U.S. DEPARTMENT OF Office of Educational Research and Impmvement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) *his document has been reproduced as ecetved Imm the person or organization e) originating it r-4 0 Minor Changes have been made to improve re\ reproduction quality Points cil vies' of opinions stated in this docu- .4- ment do not necessarily represent &bolsi OpOERI position or policy

Historical Development of

Television Aesthetics/Television Theory

Gary Burns Assistant Professor Department of Speech University of Missouri St. Louis, MO 63121 314-553-548.

Popular Culture Association Louisville, 4 April 1985

"PERMISSION TO REPRODUCE THIS MATERIAL HAS BEEN GRANTED BY

Gary Burns

0 TO THE EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC)." ci BEST COPYAVAILABLE Historical Development of

Televistm Aesthetics/Television Theory

"If we were to collect all the stud:es and articles printedon the various effects

of television, on television as a social institutionor even cultural phenomenon,

we would probably have to hire a big truck to haul it allaway. And yet, the

writings that are specifically concerned withtelevision aesthetics would 1 probably fit quite comfortably intoa normal-sized briefcase."

Strictly speaking, Herbert Zettl is correct in hisstatement quoted

above. Nonetheless, his argument is somewhat misleading. As the bibliography

at the end of this essay indicates, a collection of theworks relevant to

television aesthetics would fillmany library shelves. It would be possible

to compile from these works a large anthology"specifically concerned with

television aesthetics." In addition, the time is ripe for somebody to write

a book or books synthesizing and extending thescattered work on television

aesthetics. Of course, no one has yet written sucha book. To summarize

the situation, television aesthetics does exist and isin fact fairly well

developed, contrary to what the casual reader mightconclude from a hasty

reading of Zettl. On the other hand, the subject is not available ina convenient package. Not only is there no comprehensive book "specifically concerned with television aesthetics"--the subject is also unavailablein most university curricula and has not crystallizedas an idea in the minds of many intellectuals.

In a way, Zettl has singlehandedly created "televisionaesthetics" by giving a name to his own admirable and prolific work. At the same time

Zettl has set humanistic study (in a particular form) apartfrom the more voluminous work of social scientists, journalists,and even critics, thus perpetuating a split actually established by these threegroups of specialists,

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who have seldom asked what television fundamentally is and why itis that. It

is primarily Zettl's production emphasis that enables him tomove beyond

criticism into theory, a crucial step that forcesmore emphatically than ever

before the issue of television's position among and humanities.

Zettl proclaims loudly that TV is an art, which is somethingmore

formidable than a medium. If TV is an art (which Zettl establishes in Sight,_ 2 Sound, Motion through his elaborate discussion of elements and techniques),

then it does not deserve to occupy a blindspot in thehumanities. Yet a

blindspot is exactly where TV has been in the arts and humanitiesas they are defined in intellectual writing, university curricula, libraryclassification systems, foundation funding categories, and popular understanding.

Exclusion of TV (particularly as a focal point for theory) from the respectable divisions and disciplines of knowledge has occurred partially because most of what we see on TV seems so trivialor bad, partially because it is so logistically difficult to study television. Access to both thE process and product of television producticn varies with what the researcher can afford and in addition is subject to restriction by the gatekeepers of the entertainment industries. While mere consumption of TV requires little effort, the systematic study of TV can be accomplished only by overcoming logistical problems that are at best annoyances and at worst staggering.

Studying the artistic and humanistic aspects of TV requiresan effort that few universities or outside funding agencies have been willingto support, for television as we know it is the epitome ofmass culture/kitsch, which, especially in its extreme form, is criticized butseldom "appreciated" as high culture is. Many universities offer courses in TV criticism, usually with a sociological flavor, but not in TV appreciation. "Appreciation" is an overly polite term, but that is essentially what happens inmost film courses,

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tollowidg "masterpi,!:e" models previouslyestablished for art, literature,, 3 and .

The idea of a TV "masterpiece,' by itsvery improbability, raises some

of the most interesting quesvionsabout TV: Generally, what is a masterpiece?

Specifically, what are the masterpieces?Who says so?Given the existence of

masterpieces, who are the masters? How would one go about makinga masterpiece?

It these questions seem prPposterous, it is a result (and cause) of thefact

that we do not "appreciate" television,even though Americans collectively

spend more time watching TV than they spendon any other activity except

sleepih?. TV is the main art form ln the livesof many Americans, yet because

the content is so bad and the TV setso familiar, few people recognize TV

as art, even in its fine moments.

But to say that TV is an art is only tosay that it can be used by

skilled people to imitateor represent the world, to express ideas and feelings,

to create pleasing sights and sounds, and to present existing works ofart in new waYs. How these processes work is,or at least should be, the subject of television aesthetics. "Television aesthetics" is actuallyan unfortunate term since it couples a specific medium witha branch of philosophy devoted to the study of the general nature ofart and beauty. In the literature on film and television, "aesthetics" is commonly usedto describe inquiry that focuses on content, technique, and quality (e.g. masterpieces),and which largely ignores the social and cultural context in which art is produced andconsumed.

Philosophers generally treat questionsof context in their writingson aesthetics, but many media scholars use "television" and "film"as modifiers in front of

"aesthetics," thus focusing attentionon the "distinctive features of the medium," a phrase which occurs over and over in thetelevision literature especially.

The "distinctive featureS" come tobe,%nderstood as natural rather than humanly

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determined--from technical standards (aspect ratio, 525 line scanning, NTSC

color, small image size, live transmission) to supposed consequences in content

(TV as close-up medium, intimate medium, spontaneous medium).As these

prescriptions are challenged from time to time, aesthetics gainsa reputation 4 as a naive approach, steeped in unacknowledged ideology.

Fortunately the term "television aesthetics" has caughton only to a

limited extent (with Zettl its major proponent). The chief competitor is

"," which seems to be the favoriteamong the many film

scholars who have recently become interested in television. A better term would

be "television theory." This resembles "film theory," a well established construct (along with communication theory, literary theory, and dramatic theory)

that provides an admirable model for the development of the systematicstudy of

television. That is, there should be such a thing (or "discourse")as "television theory" developed from the humanistic investigation of the generalnature of television (just as film theory developed primarily from the humanisticstudy of the general nature of film). "Theory" is a better term than "aesthetics"or

"studies" to guide the study of televtsion asa medium dist!nct from film other media, having a general nature of its own, and existing withina soc, and cultural context.

"Television theory" is proposed as a-new label fora field of study that has been developing in isolated strands since the 1930s. This development can be divided somewhat arbitrarily into four stagesas follows. The bibliography at the end of the essay lists publications chronologicallyso that the reader can check my stages against a list of representative works.

1. Through the early 1950s. The main theoretical question during this

period was whether TV is itself an artor merely a "transmission

device" for the other arts. Although a number of involved 5

in television production viewed TV asan art, no one with the stature

of Vachel Lindsay or Hugo MUnsterberg (two early championsof film)

emerged to sing the praises of TV as an artor to explore basic

theoretical issues with rigor and thoroughness. Instead much of

the writing from this period focused pragmaticallyon the procedures

and consequences of "transmitting" other media (films,adapted

theatre, and adapted radio). See especially: Arnheim (1935),

Royal (1948), Munro (1949), Hubbell (1950), Rotha (1956).

2. Early 1950s to early 1960s. The Golden Age of TV proved that TV,

at leust in its dramatic form, can be artistically powerful. Live

TV required departures from scripting and staging techniquesdeveloped

in film, theatre, and radio. Analysis of TV focused on "the unique

properties of the medium," mainly liveness and imagesize. Much

of the theoretical work during this period appearedin dissertations.

In their subsequent teachingcareeres, these authors sensitized

generations of students to aestheticconcerns in television and

contributed to the diffusion ofc new view of TV as a legitimate

art form. See especially: Stasheff and Bretz (1951), Rider (1958),

Bluem (1959), Hilliard (1959), Currie (1961), Barnouw (1962),

Gumpert (1963), Olson (1966).

3. Early 1960s to early 1970s. TV penetration into American homes

reached 90% in the 1960s and 99% in the 1970s. The Kennedy and

Oswald assassinations, Vietnam , Yippies,and moonwalk

demonstrated the importance of TVas a medium of communication,

while as a medium of art TV devolved intoa "transmission device"

for filmed series. cial scientists began vigorously researching

television as concr6ni about ubiquitousTV violence built.

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Humanities scholars, led by Marshall McLuhan, becameincreasingly

interested in popular culture, including TV.McLuhan forced

attention to the concept of "medium," combining hisown eccentric

L'ands of aesthetic theory and communication theory. Zettl's

Sight, Sound, Motion introduced "applied media aesthetics,"

emphasizing television and based largelyon production techniques.

See especially: McLuhan (1964), Skornia (1965), Hazard (19G6),

Donner (1967), Gordon (1971), Zettl (1973), Schwartz (1974).

4. Early 1970s to present. Video art has proliferated, along with

manifestos grounded in McLuhan and sympatheticto the fashionable

idea that "small is beautiful." Low-cost video technology has

become a fad in homes and at universities, whilealready-expensive

film technology has becomeeven more expensive (and thus less in

demand as a production medium vis2,1-vis video). Sophisticated

video editins equipment now permits film-style shootingon

videotape, making "video" (as in "music video")more like film

than like TV in some cases. Film scholars are broadening their

studies to include video, e.g. in thecase of the University Film

Association changing its name to the UniversityFilm and Video

Association (with a corresponding change in the titleof tne

Association's journal). Structuralism, semiotics, genre studies,

auteurism, psychoanalysis, Marxism, feminism, culturalism,

organizational theory, politicaleconomy, and analysis of ideology

have provided theoretical bases fora flood of TV criticism.

Lately medium is receiving less attention thanis content. McLuhan

and Zettl are somewhat in disfavor. Many recent studies focus

on the socia/ process 01(Ough which TV showsare created. See 7

especially:

Video and video art: Youngblood (1970), Shamberg and Raindance

Corporation (1971), Evenson and Shamberg (1972),Weiner

(1973), Videofreex (1973), Marsh (1974),Schneider and

Korot (1976), Willener, Milliard, and Ganty (1976),

Price (1977), Davis and Simmons (1977), Battcock (1978),

Graham (1979), Ferguson (1980), Lacy (1982), Patterson

and White (1984).

Psychological approach: Pryluck (1973), Baggaley and Duck (1976),

Emery and Emery (1976), Baggaley (1980), Fowles (1982).

Critical and metacritical: Shayon (1971), Newcomb (1974), Cater

and Adler (1975), Adler and Cater (1976), Smith (1976),

Newcomb (1976), Mander (1978), Newcomb (1979), Smith (1980),

Goethals (1981), Himmelstein (1981), Adler (1981),Newcomb

(1982), Thompson (1983).

Semiotics: Eco (1972), Fiske and Hartley (1978), Tamer (1979),

Yearwood (1979), Primeau (1979), Silverstone (1981),Porter

(1982), Silverstone (1984).

Cultural studies orientation: Williams (1974), Real (1977), Esslin

(1982), Conrad (1982), Marc (1984),Himmelstein (1984).

Political economy, productionprocess: Cantor (1971), Brown (1971),

Epstein (1973), Tuchman (1974), Barnouw (1978),Arlen (1979),

Gitlin (1979), Stein (1979), Pekurny (1980),Cantor (1980),

Tunstall and Walker (1981), Espinosa (1982),Pekurny (1982),

Gitlin (1983).

McLuhanistic: Foster (1979), Schwartz (1981).

Zettl tt al .: attl (1973, 1977, 1978), Toogood (1978),Burns (1982). rry 9 8 Auteurism: Ravage (1978), Wicking and Vahimagi (1979),Newcomb and

Alley (1983), Perry (1983).

Film oriented: Bettetini (1973), Metz (1974), Mast (1977),Ellis

(1982), Kaplan (1983).

Genre: Hammond (1981), Shore (1984).

This is obviously a crude categorization. Many of the categories overlap. Some works fit comfortably intomore than one category. Others do not fit very well in any category.

Conclusion

TV is "the most popular art" and one of our biggest businesses. Yet we do not understand it. It presents nothing butan illusion of life, yet the

illusion hypnutizes us for hourson end. TV is a lot like film,a lot like radio,

a lot like theatre, a lot like literature. But in the end TV isnone of these

things. It can be slightly or vastly different,but it is always different.

As McLuhan correctly noted, we do most of our thinking abouta new medium in terms of old media. We understand video by comparing itto film, radio, theatre, and literature. As television theory develops,we at least are able to make more sophisticated comparisons, analyzeour own acts of comparing, and arrive at new understandings of what TV is, how itgot to be that way, why it remains that way, and how and why to change it or not change it. As TV takes overour dinner hour, our evenings, our living rooms, and our children, it isessential to seek the deep understanding engenderedby the dialogue of theory development.

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Notes

1 Herbert Zettl, "The Rare Case of TelevisionAesthetics," Journal of

the University Film Association, 30, No. 2 (Spring 1978),3-8, quote on 3.

2 Herbert Zettl, Sight, Sound, Motion: Applied Media Aesthetics (Belmont,

CA: Wadsworth Publishing Company, Inc., 1973).

3 On the "masterpiece" approach in film studies,see Robert C. Allen and Douglas Gomery, Film History:Theory and Practice (New York: Alfred A.

Knopf, 1985), esp. chap. 4.

4 See especially Jane Feuer, "The Conceptof : Ontology as Ideology," in Regarding Television: Critical Approaches--An Anthology, ed.

E. Ann Kaplan (Frederick, MD: University Publications of America, Inc., 1983), pp. 12-27.

11 Selected Chronological Bibliographyof

Works Related to Television Theory

Note: Most of the works listed below have citations with complete factsof publication in another bibliography passed oat to accompany thispaper. 1935. Rudolf Arnheim. "A Forecast of Television." Rpt. in Arnheim, Film as Art (1957), pp. 188-198. 1942. Richard W. Hubbell. 4000 Years of Televi7ion: The Story of Seeing at a Distance. .1944. Robert E. Lee. Television: The Revolution. 1945. William C. Eddy. Television: The Eyes of Tomorrow. 1945. Judy Dupuy. Business. 1947. Hoyland Bettinger. Television Techniques. 1948. John F. Royal, ed. Television Production Problems. 1949. Thomas Munro. The Arts and Their Interrelations. 1950. Richard Hubbell. Television Programming & Production,2nd ed. 1950. Edwin Duerr. Radio and Television Acting: Criticism, Theory, and Practice. 1950. Max Wylie. Radio and TelPvision Writing,rev, and enl. 1951. Edward Stasheff and Rudy-bretz. The Television Program: Its Writing, Direction, and Production. 1953. Charles Adams. Producing and Directin9 for Television. 1953. Rudy Bretz and Edward Stasheff. Television Scripts for Stagingand Study, with a Guide to CreetiveCamerawork. 1953. Rudy Bretz. Techniques of Television Production. 1953. William Hodapp. The Television Manual: A Practical Guide to TV Production and Progrdmming for Education,Public Affairs and Entertainment. 1955. doyland Bettinger. Television Techniques. Rev. by Sol Cornberg. 1955. William Hodapp. The Television Actor's Manual. 1955. Carroll O'Meara. Television Program Production. 1956. George Arthur Willey. "The Visualization of Musicon Television with Emphasis on The Standard Hour." Ph.D. diss., Stanford University. 1956. Sydney W. Head. Broadcasting in America. 1956. Richard Hubbell. Television Programming & Production,3rd ed. 1956. Paul Rotha, ed. Television in the Making. 1956. Edward Stasheff and Rudy Bretz. The Television Program: Its Writing, Direction, and Production, 2nd ed. 1957. Rudolf Arnheim. Film as Art. 1957. Stuart Curran Chenoweth. "A Study ö ;the Adaptation ofActing Technique from to Film, Radio, and Television Media in the UnitedStates, 1900-1951." Ph.D. diss., Northwestern University. 1958. Richard Lee Rider. "A Comparative Analysis ofDirecting Television and Film Drama." Ph.D. diss., University of Illinois. 1959. Robert L. Hilliard. "Concepts of Dramaturgical Tachniqueas Developed in Television Adaptations ofStage Plays." Ph.D. diss., . 1959. Ralph Lewis Smith. "A Study of the ProfessionalCriticism of Broadcasting in the 1920-1955." Ph.D. diss., University ofWisconsin. 1959. Albert William Bluem. "The Influence of Medium UponDramaturgical Method in Selected Television Plays." Ph.D. diss., Ohio StateUniversity. 1960. Francis William Sturcken. "An Historical Analysis of LiveNetwork Television Drama from 1938 to 1958." Ph.D. diss., University of Minnesota. 1960. Frank Henr. ,akes, Jr. "A Study of Standards Imposedby Four Leading Television Critics with Respectto Live Television Drama."Ph.D. diss., Ohio State University .12 11

196o. Kenneth William Hawes, Jr. "A History of Anthology Television Drama Through 1958." Ph.D. diss., University of Michigan. 1961. Rolf Hector Currie. "The Stylization of the Dramatic Television Image." Ph.D. diss., Stanford University. 1961. Opotowsky. TV--The Big Picture. 1961. Herbert Zettl. Television Production Handbook. 1961. Gerald Millerson. The Technique of Television Production. 1962. The Eighth Art. 1962. Erik Barnouw. The Television . 1962. Rudy Bretz. Techniques of Television Production, 2nd ed. 1962. Meyer Weinberg. TV in America: The Morality of Hard Cash. 1962. Stan Opotowsky. TV--The Big Picture, rev. ed. 1962. Robert L. Hilliard. Writing for Television and Radio. 1962. Eugene Paul. The Hungry Eye: An Inside Look at Television. 1963. Gary Gumpert. "Television Theatre as a. Art Form." Ph.D. diss., Wayne State University. 1963. Gerald Millerson. The Technique of Television Production, 2nd ed. 1964. Evelina Tarroni. "The Aesthetics of Television." Rpt. in Newcomb, Television: The Critical View, 2nd ed. (1979), pp. 437-461. 1964. Marshall Mauhan. Understanding Media: The Extensions of Man. 1964. Gerald Millerson. The Technique of Television Production, 3rd ed. 1965. Daniel Arthur Greenberg. "Television--Its Critics and Criticism (A Survey and Analysis)." Ph.D. diss., Wayne State University. 1965. Ted Nielsen. "Television: Chicago Style." Rpt. in Lichty and Topping, American Broadcasting (1975), pp. 409-414. 1965. A. William Bluem. Documentary in American Television: Form, Function, Method. 1965. Harry J. Skornia. Television and Society: An Inquest and Agenda for Improvement. 1966. Thomas Oscar Olson. "A Basis for Criticism of the Visual Esthetic Elements of Television." Ph.D. diss., Wayne State University. 1966. Patrick D. Hazard, ed. TV as Art: Some Essays in Criticism. 1966. Gerald Millerson. The Technique of Television Production, 4th ed.

1967. Fred W. Friendly. Due to Circumstances Beyond Our Control . . . 1967. Marshall McLuhan and Quentin Fiore. The Medium Is the Massage. 1967. Stanley T. Donner, ed. The Meaning of Commercial Television: The Texas-Stanford Seminar, 1966. 1967. Gerald Emanuel Stearn, ed. McLuhan: Hot & Cool. 1967. Robert L. Hilliard. Writing for Television and Radio, 2nd ed. 1967. Thomas Munro. The Arts and Their Interrelations, 2nd ed. 1967. Gerald Millerson. The Technique of Television Production, 5th ed. 1968. Marshall McLuhan and Quentin Fiore. War and Peace in the Global Village. 1968. Colby Lewis. The TV Director/Interpreter. 1968. Ward L. Quaal and Leo A. Martin. Broadcast Management: Radio, Television. 1968. Stephen E. Whitfield and Gene Roddenberry. The Making of Star Trek. 1968. Irving E. Fang. Television News. 1968. Herbert Zettl. Television Production Handbook, 2nd ed. 1968. Gerald Millerson. The Technique of Television Production, 6th ed. 1969. Louise Kreher Turner. "The Television Direction of a Video Tape of Original Choreovideo Dance:An Analysis of Selected Spatial and Design Elements for Choreographing Television Dance for Presentation Via Video Tape." Ph.D. diss., New York University. 19606 Raymond Rosenthal, ed. McLuhan: Pro and Con. ifl Gerald Millovt . The Ichnique of Television Production, 7th ed. 13 12

1970. Erik Barnouw. The Image Empire: A History of Broadcasting in the United States, Volume III--from 1953. 1970. Gene Youngblood. Expanded Cinema. 1970. Gerald Millerson. The Technique of Television Production, 8th ed. 1971. Robert Lewis Shayon. Open to Criticism. 1971. Muriel G. Cantor. The Hollywood TV Producer: His Work and His Audience. 1971. Edward Bliss, Jr., and John M. Patterson.Writing News for Broadcast. 1971. Michael Shamberg and Raindance Corporation. Guerrilla Television. 1971. Donald R. Gordon. The New Literacy. 1971. Les Brown. Televi$ion: The Business Behind the Box. 1972. Gerald Millerson. The Technique of Television Production, 9th ed. 1972. Umberto Eco. "Towards a Semiotic Inquiry Into the Television Message." Working Papers in Cultural Studies, No. 3 (Autumn), 103-121. 1972. Dudley Evenson and Michael Shamberg, eds. Radical Software. 1972. Sydney W. Head. Broadcasting in America, 2nd ed. 1973. Calvin Pryluck. "Sources of Meaning in Motion Pictures and Television." Ph.D. diss., University of Iowa. 1973. Edward Jay Epstein. News from Nowhere: Television and the News. 1973. Peter Weiner. Making the Media Revolution: A Handbook for Video-Tape Production. 1973. Herbert Zettl. Sight, Sound, Motion: Applied Media Aesthetics. 1973. Videofreex. The Spaghetti City Video Manual: A Guide to Use, Repair, and Maintenance. 1973. Fred E.H. Schroeder. "Video Aesthetics and Serial Art." Rpt. in Newcomb, Television: The Critical View, 2nd ed. (1979), pp. 407-419. 1973. Gianfranco Bettetini. The Language and Technique of the Film. Trans. David Osmond-Smith. 1974. Ken Marsh. -ndependent Video. 1974. Wolf Rilla. The Writer and the Screen: On Writing for Film and Television. 1974. Horace Newcomb. TV: The Most Popular Art. 1974. Raymond Williams. Television: Technology and Cultural Form. 1974. Christian Metz. Language and Cinema. Trans. Donna Jean Umiker-Sebeok. 1974. Tony Schwartz. The Responsive Chord. 1974. Bruce M. Owen, Jack H. Beebe, and Willard G. Manning, Jr. Television . 1974. Gaye Tuchman, ed. The TV Establishment: Programming for Power and Profit. 1974. Gerald S. Lesser. Children and Television: Lessons from Sesame Street. 1975. Douglass CaZer and Richard Adler, eds. Television as a Social Force: New Approaches to TV Criticism. 1975. Lawrence W. Lichty and Malachi C. Topping, eds. American Broadcasting: A Source Book on the History of Radio and Television. 1975. Erik Barnouw. Tube of Plenty: The Evolution of American Television. 1975. Rose K. Goldsen. The Show and Tell Machine: How Television Works and Works You Over. 1975. Robert Metz. CBS: Reflections in a Bloodshot Eye. 1976. Robert Rutherford Smith. Beyond the Wasteland: The Criticism of Broadcasting. 1976. Ira Schneider and Beryl Korot, eds. Video Art: An Anthology. 1976. George Gerbner and Lawrence Gross. "The Scary World of TV's Heavy Viewer." Psychology Today (April). 1976. Robert L. Hilliard. Writing for Television and Radio, 3rd ed. 1976. Herbert Zettl. Television Production Handbook, 3rd ed. 1976. Edward Stasheff, Rudy Bretz, John Gartley, and Lynn Gartley. The Television Program! Its Direction ard Production, 5th ed.

1 4 13

1976. Richard Adler and Douglass Cater, eds. Television as a Cultural Force. 1976. Fred Emery and Merrelyn Emery. A Choice of Futures. 1976. Alfred Willener, Guy Milliard, and Alex Ganty. Videology and Utopia: Explorations in a New Medium. Trans. Diana Burfield. 1976. Jon Baggaley and Steve Duck. Dynamics of Television. 1976. Ward L. Quaal and James A. Brown. Broadcast Management: Radio, Television, 2nd ed. 1976. Horace Newcomb, ed. Television: The Critical View. 1976. Max Wilk. The Golden Age of Television:Notes from the Survivors. 1976. Sydney W. Head. Broadcasting in America, 3rd ed. 1977. Herbert Zettl. "Toward a Multi-Screen Television Aesthetic: Some Structural Considerations." Journal of Broadcasting, 21 (Winter), 5-19. 1977. Douglas Davis and Allison Simmons, eds. The New Television: A Public/ Private Art. 1977. Gerald Mast. Film/Cinema/Movie: A Theory of Experience. 1977. Jonathan Price. Video-Visions: A Medium Discovers Itself. 1977. Ron Powers. The Newscasters. 1977. Daniel Schorr. Clearing the Air. 1977. Marie Winn. The Plug-In Drug. 1978. Alex. F. Toogood. "A Framework for the Exploration of Video as a Unique Art Form." Journal of the University Film Association, 30, No. 2 (Spring), 15-19. 1978. Gregory Battcock, ed. New Artists Video: A Critical Anthology. 1978. John Fiske and John Hartley. Reading Television. 1978. Herbert Zettl. "The Rare Case of Television Aesthetics." Journal of the University Film Association, 30, No. 2 (Spring), 3-8. 1978. Edward Bliss, Jr., and John M. Patterson. Writing News for Broadcast, 2nd ed. 1978. Christopher H. Sterling and John M. Kittross. Stay Tuned: A Concise History of American Broadcasting. 1978. John W. Ravage. Television: The Director's Viewpoint. 1978. Erik Barnouw. The Sponsor: Notes on a Modern Potentate. 1978. Jerry Mander. Four Arguments for the Elimination of Television. 1978. Geoffrey Cowan. See No Evil: The Backstage Battle Over Sex and Violence on Television. 1978. Gary Paul Gates. Air Time: The Inside Story of CBS News. 1978. Frank Mankiewicz and Joel Swerdlow. Remote Control: Television and the Manipulation of American Life. 1978. John Caughie, ed. Television: Ideology and'Exchange. 1978. Thomas D. Burrows and Donald N. Wood. Television Production: Disciplines and Techniques. 1979. Christopher Wicking and Tise Vahimagi. The American Vein: Directors and Directions in Television. 1979. Kezban Tamer. "The Modality of the Visual: An Analysis of the Visual Aspects of Television to Determine Its Visual Patterns." Ph.D. diss., New York University. 1979. Gladstone Lloyd Yearwood. "Semiology in Television Criticism: A Study of Aesthetics and Ideology in a Television Program--Get ChristieLove!". Ph.D. diss., Ohio University. 1979. Michael J. Arlen. Thirty Seconds. 1979. Dan Graham. Video-Architecture-Television: Writings on Video and Video works 1970-1978. 1979. Todd Gitlin. " Ideology: The Hegemonic Process in Television Entertainment." Social Problems, 26 (February), 251-266. 1979. Gerald Millerson. Tke,:achnique of Television Production, 10th ed. 14

1979. Alan Wurtzel. Television Production. 1979. Horace Newcomb, ed. Television: The Critical View, 2nd ed. 1979. Harold M. Foster. The New Literacy: The Language of Film and Television. 1979. Ben Stein. The View from Sunset Boulevard:America as Brought to You by the People Who Make Television. 1979. Ronald Primeau. The Rhetoric of Television. 1980. Colin McArthur. Television and History. 1980. George Comstock. Television in America. 1980. Stephen B. Withey and Ronald P. Abeles, eds. Television and Social Behavior: Beyond Violence and Children. 1980. Robert Pekurny. "The Production Process and Environment of NBC's 'Saturday Night Live.'" Journal of Broadcastinif, 24 (Winter), 91-99. 1980. Muriel G. Cantor. Prime-Time Television: Content and Control. 1980. Irving E. Fang. Television News, Radio News, 3rd ed. 1980. Jon Baggaley with Margaret Ferguson and Philip Brooks. Psychology of the TV Image. 1980. Len Masterman. Teaching About Television. 1980. Robert Rutherford Smith. Beyond the Wasteland: The Criticism of Broadcasting, rev. ed. 1980. Bruce Ferguson. Video. 1981. Gregor T. Goethals. The TV Ritual: Worship at the Video Altar. 1981. Sally Bedell. Up the Tube: Prime-Time TV in the Silverman Years. 1981. Richard Levinson and William Link. Stay Tuned. 1981. Marc Eliot. American Television: The Official Art of the Artificial. 1981. Alvin H. Marill. Movies Made for Television. 1981. Tony Schwartz. Media: The Second God. 1981. Roger Silverstone. The Message of Television:Myth and Narrative in Contemporary Culture. 1981. Hal Himmelstein. On the Small Screen: New Approaches in Television and Video Criticism. 1981. Charles Montgomery Hammond, Jr. The Image Decade: Television Documentary, 1965-1975. 1981. Richard P. Adler, ed. Understanding Television: Essays on Television as a Social and Cultural Force. 1981. Robert C. Paulson. BM/E's ENG/EFP/EPP Handbook: Guide to Using Mini Video Equipment. 1981. Susan Tyler Eastman, Sydney W. Head, and Lewis Klein. : Strategies for Winning Television and Radio Audiences. 1981. Jeremy Tunstall and David Walker. Media Made in California: Hollywood, , and the News. 1981. Tony Bennett, Susan Boyd-Bowman, Colin Mercer, and Janet Woollacott. Popular Television and Film. 1982. Robert Pekurny. "Coping with Television Production." In James S. Ettema and D. Charles Whitney, eds., Individuals in Mass Media Or anizations: Creativity and Constraint. 1982. Peter Conrad. Television: The Medium and Its Manners. 1982. Michael J. Porter. "The Grande Syntagmatique: A Methodology for Analysis of the Montage Structure of Television Narratives."Southern Speech Communication Journal, 47 (Spring), 330-341. 1982. Jib Fowles. Television Viewers vs. Media Snobs: What TV Does for People. 1982. Suzanne Lacy. "Made for TV: California Performance in Mass Media." Performing Arts Journal, 17, 52-61. 1982. Harry Castleman and Walter J. Podrazik. Watching TV: Four Decades of American Television. 1.6 15

1982. Michael D. Shetter. Videotape Editing: Communicating with Pictures and Sound. 1982. John Ellis. Visible Fictions: Cinema, Television, Video. 1982. Gary Burns. "Film and Video Theory in Television Production Manuals." The SAFTTA Journal, 2, No. 2, 5-16. Rpt. in Tomaselli and Hayman, Perspectives on the Teaching_ of Film and Television Production (1984), pp. 56-67. 1982. Horace Newcomb, ed. Television: The Critical View, 3rd ed. 1982. Paul Espinosa. "The Audience in the Text: Ethnographic Observations of a Hollywood Story Conference." Media, Culture and Society, 4, 77-86. 1982. Tony Barr. Acting for the Camera. 1982. Thomas D. Burrows and Donald N. Wood. Television Production: Disciplines and Techniques, 2nd ed. 1982. David Cheshire. The Video Manual. 1982. Martin Esslin. The Age of Television. 1982. Sydney W. Head with Christopher H. Sterling. Broadcasting in America: A Survey of Television, Radio, and New Technologies, 4th ed. 1982. Martin Williams. TV: The Casual Art. 1983. Horace Newcomb and Robert S. Alley. The Producer's Medium: Conversations with Creators of American TV. 1983. Robert P. Snow. Creating . 1983. John E. O'Connor, ed. American History, American Television: Interpreting the Video Past. 1983. Ronald Pellegrino. Electronic Arts of Sound and Light- 1983. Jeb H. Perry. Universal Television: The Studio and Its Programs, 1950- 1980. 1983. E. Ann Kaplan, ed. Regarding Television: Critical Approaches--An Anthology. 1983. Mark Schubin. "Television Red2fined." Technology Illustrated, 3, No. 7 (July), pp. 32-35. 1983. Robert J. Thompson. "'The Love Boat': High Art on the High Seas." Journal of Ame-ican Culture, 6, No. 3 (Fall), 59-65. 1983. Alan Wurtzel. Television Production, 2nd ed. 1984. Roger Silverstone. "Narrative Strategies in Television Science--A Case Study." Media, Culture and Society, 6 (October), 377-410. 1984. Herbert Zettl. Television Production Handbook, 4th ed. 1984. David Marc. Demographic Vistas: Television in American Culture. 1984. Hal Himmelstein. Television Myth and the American Mind. 1984. Phil Patton. Razzle Dazzle: The Curious Marriage of Television and Professional Football. 1984. Michael Shore. The Rolling Stone Book of Rock Video. 1984. Keyan Tomaselli and Graham Hayman, eds. Perspectives on the Teaching of Film and Television Production. 1984. Richard Patterson and Dana White, eds. Electronic Production Techniques. 1985. Harry Mathias and Richard Patterson. Electronic Cinematography: Achieving Photo4raphic Control Over the Video Image. 1985. Susan Tyler Eastman, Sydney W. Head, and Lewis Klein. Broadcast/Cable Programming: Strategies and Practices, 2nd ed.

ADDENDA: 1977. Michael R. Real. Mass-Mediated Culture. 1983. Todd Gitlin. Inside Prime Time.

17 TVP I-1 The standard television production textbooks

Wurtzel, Alan. Television Production, 2nd ed. New York: McGraw-Hill Book Company, 1983. Stasheff, Edward; Bretz, Rudy; Gartley,John; and Gartley, Lynn. The Television Program: Its Direction and Production, 5th ed. New York: Hill and Wang, 1976. Millerson, Gerald. The Technique of Television Production,10th ed. London: Focal Press; and New York: Focal/Hastings House, 1979. Burrows, Thomas D.; and Wood, Donald N. Television Production:Disciplines and Techniques, 2nd ed. Dubuque, IA: Wm. C. Brown Company Publishers, 1982. Zettl, Herbert. Television Production Handbook, 4th ed. Belmont, CA: Wadsworth Publishing Company, 1984.

. 18 TVP II-1 Production books (advanced, specialized,or historical)

Utz, Peter. Video User's Handbook, 2nd ed. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1982. Eddy, William C. Television: The Eyes of Tomorrow. New York: Prentice-Hall, Inc., 1945. Hubbell, Richard. Television Programming & Production, 3rd ed.,rev, and enl. New York: Rinehart & Company, Inc., 1956. Adams, Charles. Producing and Directing for Television. New York: Henry Holt and Company, 1953. Bettinger, Hoyland. Television Techniques. Rev. by Sol Cornherg. New York: Harper & Brothers, 1955. Bretz, Rudy; and Stasheff, Edward. Television Scripts for Staging and Study: With a Guide to Creative Camerawork.New York: A.A. Wyn, Inc., 1953. Hodapp, William. The Television Manual: A Practical Guide to TV Proluction and Programming for Education, Public Affairsand Entertainment. New York: Farrar, Straus and Young, 1953. Royal, John F., ed. Television Production Problems. New York: McGraw-Hill Book Company, Inc., 1948. Duerr, Edwin. Radio and Television Acting: Criticism, Theory, and Practice New York: Rinehart & Company, Inc., 1950. Dupuy, Judy. Television Show Business. Schenectady, NY: General Electric, 1945. Levin, Richard. Television by Design. London: The Bodley Head, 1961. Wade, Robert J. Staging TV Programs and Commercials: How to Plan and Execute Sets, Props and Production Facilities.New York: Hastings House, 1954.

Lewis, Colby. The TV Director/Interpreter. New York: Hastings House, 1968. Reisz, Karel; and Millar, Gavin. The Technique of , 2nd ed., enl. New York: Hastings House, 1968.

Weiner, Peter.Maktng the Media Revolution: A Handbook for Video-Tape Production. New York: Macmillan Publishing Co., Inc.; and London: Collier Macmillan Publishers, 1973. Zettl, Herbert. Sight-Sound-Motion: Applied Media Aesthetics. Belmont, CA: Wadsworth Publishing Company, Inc., 1973. Fang, Irving E. Television News, Radio News, 3rd ed. St. Paul, MN: Rada Press, 1980. Kehoe, Vincent J-R. The Technique of Film and TelevisionMake-Up for Color and Black and White, rev. ed. New York: Hastings House, 1969. Levitan, Eli L. Electronic Imaging Techniques:A Handbook of Conventional and Computer-Controlled Animation, Optical, andEditing Processes. New York: Van Nostrand Reinhold Company, 1977. Miller, William. Screenwriting for Narrative Film andTelevision. New York: Hastings House, 1980. Shetter, Michael D. Videotape Editing: Communicating with Pictures and Sound. Ed. Mary O'Brien. Elk Grove Village, IL:Swiderski Electronics Incorporated, 1982. Wurtzel, Alan. Television Production. New York: McGraw-Hill Book Company, 1979. Bensinger, Charles. The Video Guide, 2nd ed. Santa Barbara,CA: Video-Info Publications, 1979. Marsh, Ken. Independent Video: A Complete Guide to the Physics,Operation, and APplication of the New Television for theStudent, The Artist, and for Community TV. San Francisco: Straight Arrow Books, 1974.

1 9 TVP 11-2

Production books (advanced, specialized,or historical)

Millerson, Gerald. The Technique of Television Production, 9thed., rev. New York: Hastings House, 1972. Paulson, C. Robert, principal author. BM/E's ENG/EFP/EPP Handbook: Guide to Using Mini Video Equipment. New York: Broadband Information Services, Inc., 1981. Bretz, Rudy. Techniques of Television Production, 2nd ed. New York: McGraw- Hill Book Company, 1962. Zettl, Herbert. Television Production Workbook, 3rd ed. Belmont, CA: Wadsworth Publishing Company, Inc., 1977. Videofreex. The Spaghetti city Video Manual: A Guide to Use, Repair, and Maintenance. New York: Praeger Publishers, 1973. Wade, Robert J. Designing for TV: The Arts and Crafts in Television Production. New York: Pellegrini and Cudahy, 1952. Orlik, Peter B. Broadcast Copywriting, 2nd ed. Boston: Allyn and Bacon, Inc., 1982. Hyde, Stuart W. Television and Radio Announcing, 3rded. Boston: Houghton Mifflin Company, 1979. Bliss, Edward, Jr.; and Patterson, JohnM. Writing News for Broadcast. New York: Columbia University Press, 1971. Bliss, Edward, Jr.; and Patterson, JohnM. Writing News for Broadcast, 2nded., fully rev. New York: Columbia University Press, 1978. Hilliard, Robert L. Writing for Television and Radio, 3rd ed.,rev, and enl. New York: Hastings House, 1976. Lee, Robert; and Misiorowski, Robert. Script Models: A Handbook for the Media Writer. New York: Hastings House, 1978. Brady, Ben. The Keys to Writing for Televisionand Film, 4th ed. Dubuque, IA: Kendall/Hunt Publishing Company, 1982. Rilla, Wolf. The Writer and the Screen: On Writing for Film and Television. New York: William Morrow & Company, Inc., 1974. Smeyak, G. Paul. Broadcast News Writing, 2nd ed. Columbus, OH: Grid Publishing, Inc., 1983. Wimer, Arthur; and Brix, Dale. Workbook for Radio and TV News Editingand Writing, 5th ed. Dubuque, IA: Wm. C. Brown Company Publishing, 1980. Zettl, Herbert. Television Production Handbook, 3rded. Belmont, CA: Wadsworth Publishing Company, Inc., 1976. Hodapp, William. The Television Actor's Manual. New York: Appleton-Century- Crofts, Inc., 1955. Wylie, Max. Radio and Televiilion Writing,rev. a.Ld enl. New York: Rinehart & Company, Inc., 1950. Baygan, Lee. Makeufor Theatre, Film, & Television: A Step by Step Photographic Guide. New York: Drama Book Publishers, 1982. Millerson, Gerald. TV Lighting Methods, 2nd ed. London: Focal Press, 1982. Alkin, Glyn. TV Sound Operations. New York: Hastings House, 1975. Barr, Tony. Acting for the Camera. Boston: Allyn and Bacon, Inc., 1982. O'Meara, Carroll. Television Program Production. New York: The Ronald Press Company, 1955. Stasheff, Edward; and Bretz, Rudy. The Television Program: Its Writing, Direction, and Production. New York: A.A. Wyn, Inc., 1951. Bettinger, Hoyland. Television Techniques. New York: Harper & Brothers, 1947. Bretz, Rudy. Techniques of Television Production.New York: McGraw-Hill Book Company, Inc., 1953. Hubbell, Richard. Television Programming & Production,2nd ed., rev. and enl. New York: Rinehart & Company, Inc., 1950. Stasheff, Edward; and Bret7 Rudy. The Television Program: Its Writing, Direction, and Production, 2n; . New York: Hill and Wang, Inc., 1956.

:11;, 20 TVP 11-3

Production books (advanced, specialized, or historical)

Tomaselli, Keyan; and Hayman, Graham, eds. Perspectives on the Teaching_of Film and Television Production. Grahamstown, South : Rhodes University Print Unit, n.d. L19847. Patterson, Richard; and White, Dana, eds. Electronic Production Techniques. N.p. LHollywood7: American , n.d. L.1984/.A collection of articles reprinted from American Cinematographer. Mathias, Harry; and Patterson, Richard. Electronic Cinematography: Achieving Photographic Control over the Video Image. Belmont, CA: Wadsworth Publishing Company, 1985. Haag, Judith H.; and Cole, Hillis R., Jr. The Complete Guide to Stand:rd Script Formats, Part I--Screenplays. -Ralywood, CA: CMC Publishing, 1980. 'Theshire, David. The Video Manual. New York: Van Nostrand Reinhold ''.ompany, 1932.

. 21 TVP III-1 Nonproduction books of interest

Hazard, Patrick D., ed. TV as Art: Some Essays in Criticism. Champaign, IL: NationalCouncil of Teachers of English, 1966. Donner, StanleyT., ed. The Meaning of Commercial alevision: The Texas- StanfordSeminar, 1966. Austin: University of Texas Press, 1967.

Shamberg, Michael: and RaindanceCorporation. Guerrilla Television. New York: Holt, Rinehart and Winston, 1971. Graham, Dan. Video-Architecture-Television: Writings on Video and Video Works 1970-1978. Ed. Benjamin H.D. Buchloh. With two contributions by Michael Asher and Dara Birnbaum. Halifax: The Press of the Nova Scotia College of Art & Design; and New York: New York University Press, 1979. Himmelstein, Hal. On the Small Screen: New Approaches in Television and Video Criticism. New York: Praeger, 1981. Price, Jonathan. Video-Visions: A Medium Discovers Itself. New York: New American Library, 1977. Bluem, A. William. Documentary in American Television: Form, Function, Method. New York: Hastings House, 1965. Willener, Alfred; Milliard, Guy; andGanty, Alex. Videology and Utopia: Explorations in a New Medium (1972). Trans. Diana Burfield. London: Routledge & Kegan Paul, 1976. Altheide, David L.; and Snow, Robert P. Media Logic. Beverly Hills, CA: Sage Publications, 1979. Baggaley, Jon; and Duck, Steve. Dynamics of Television. Farnborough, England: Saxon House, 1976. Baggaley, Jon; with Fergusoa, Margaret; and Brooks, Philip. Psychology of the TV Image. Westmead, England: Gower, 1980.

Davis, Douglas; and Simmons, Allison,eds. The New Televi3ion: A Public/Private Art. Cambridge, MA: The MIT Press, 1977. Emery, Fred; and Emery, Merrelyn. A Choice of Futures. Leiden, : Martinus Nijhoff Social Sciences Division,1976. Esslin, Martin. The Age of Television. San Francisco: W.H. Freeman and Company, 1982. Fiske, John; and Hartley, John. Reading Television. London: Methuen & Co Ltd, 1978. Foster, Harold M. The New Literacy: The Language of Film and Television. Urbana, IL: National Council of Teachers ofEnglish, 1979.

Newcomb, Horace. TV: The Most Popular Art. Garden City, NY: Anchor Press/ Doubleday, 1974.

Masterman, Len. Teaching About Television. London: The Macmillan Press Ltd, 1980 Youngblood, Gene. Expanded Cinema. New York: E.P. Dutton and Co., Inc., 1970. Evenson, Dudley; and Shamberg, Michael, eds. Radical 3oftware. New York: Gordon and Breach, 1972. Schwartz, Tony. The Responsive Chord. Garden City, NY: Anchor Press/Doubleday, 1973.

.22 TVP

Nonproduction books of interest 111-2

Smith, Robert Rutherford. L.:yond the Wasteland: The Criticism of Broadcasting, rev. ed. Annandale, VA: Speech Communication Association;and Urbana, IL: ERIC Clearinghouse on Reading and CommunicationSkills, National Institute of Education, 1980. Skornia, Harry J. Television and Society: An Inquest and Agenda for Improvement. New York: McGraw Hill Book Company, 1965.

Adler, Richard P., ed.Understanding_Television: Essays on Television as a Social and Cultural Force. New York: Praeger, 1981. Newcomb, Horace, ed. Television: The Critical View, 3rd ed. New York: Oxford University Press, 1982. Barnouw, Erik. Tube of Plenty: The Evolution of American Television. London: Oxford University Press, 1975. Williams, Raymond. Television: Technology and Cultural Form. London: Fontana, 1974. Brown, Les. Televi$ion: The Business Behind the Box. New York: Harcourt Brace Jovanovich, Inc., 1971. Sterling, Christopher H.; and Kittross,John M. Stay Tuned: A Concise History of American Broadcasting. Belmont, CA: Wadsworth Publishing Company, 1978. Fireman, Judy, ed. TV Book: The Ultimate Television Book. New York: Workman Publishing Company, 1977. Cantor, Muriel G. The Hollywood TV Producer: His Work and His Audience.New York: Basic Books Inc., 1971. Ravage, John W. Television: The Director's Viewpoint. Boulder, CO: Westview Press, 1978. Stein, Bea. The View from Sunset Boulevard: America as Brought to You by the People Who Make Television. New York: Basic Books, Inc., 1979. Barnouw, Erik. The Image Empire: A History of Broadcasting in the United States, Volume III--from 1953. New York: Oxford University Press, 1970. Eastman, Susan Tyler; Head, Sydney W.;and Klein, Lewis. Broadcast Programming: Strategies for Winning Television and RadioAudiences. Belmont, CA: Wadsworth Publishing Company, 1981. Quaal, Ward L.; and Martin, Leo A. Broadcast Management: Radio, Television. New York: Hastings House, 1968. Quaal, Ward L.; and Brown, James A. Broadcast Management: Radio, Television, 2nd ed., rev, and enl. New York: Hastings House, 1976. Castleman, Harry; and Podrazik, WalterJ. Watching TV: Four Decades of American Television. New York: McGraw-Hill Book Company, 1982. Gross, Lynne Schafer. The New Television Technologies. Dubuque, IA: Wm. C. Brown Company Publishers, 1983. Head, Sydney W.; with Sterling, Christopher H. Broadcasting in America: A Survey of Television, Radio and New Technolo ies, 4th ed. Boston: Houghton Mifflin Company, 1982. Owen, Bruce M.; Beebe, Jack H.; and Manning, WillardG., Jr. Television Economics. Lexington, MA: D.C. Heath and Company, 1974. Barnouw, Erik. The S onsor: Notes on a Modern Potentate. Oxford: Oxford University Press, 1978. Tuchman, Gaye, ed. The TV Establishment: Programming for Power and Profit. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1974. Primeau, Ronald. The Rhetoric of Television. New York: Longman, 1979.

23 TVP Nonproduction books of interest III-3

Mander, Jerry. Four Arguments for the Elimination ofTelevision. New York: William Morrow and Company, Inc., 1978. McLuhan, Marshall. Understanding Media: The Extensions of Man. New York: McGraw-Hill Book Company, 1964. Ferguson, Bruce. Canada Video: Colin Campbell, Pierre Falardeau/JulienPoulin, General Idea, Tom Sherman, Lisa Steele. Ottawa: The National Gallery of Canada, 1980. Newcomb, Horace, ed. Television: The Critical View, 2nd ed. New York: Oxford University Press, 1979. Newcomb, Horace, ed. Television: The Critical View.New York: Oxford University Press, 1976. Dunlap, Orrin E., Jr. Understanding Television: What It Is and How It Works. New York: Greenberg: Publisher, 1948. Hubbell, Richard W. 4000 Years of Television: The Story of Seeing ata Distance. New York: G.P. Putnam's Sons, 1942. Tunstall, Jeremy; and Walker, David. Media Made in California: Hollywood, Politics, and the News. New York: Oxford University Press, 1981. Wilk, Max. The Golden Age of Television: Notes from the Survivors. New York: Delacorte Press, 1976. Williams, Martin. TV: The Casual Art. New York: Oxford University Press, 1982. Shayon, Robert Lewis. Open to Criticism. Boston: Beacon Press, 1971. Bennett, Tony; Boyd-Bowman, Susan; Mercer, Colin; and Woollacott,Janet, eds. Popular Television and Film. London: BFI Publishing in associationwith The Open University Press, 1981. Newcomb, Horace; and Alley, Robert S. The Producer's Medium: Conversations with Creators of American TV. New York: Oxford University Press, 1983. Cater, Douglass; and Adler, Richard, eds. Television as a Social Force: New Approaches to TV Criticism. New York: Praeger Publishers, 1975. Smith, Robert Rutherford. Beyond the Wasteland: The Criticism of Broadcasting. Falls Church, VA: Speech Communication Association;and Urbana, IL: ERIC Clearinghouse on Readingand Communication Skills, 1976. Goethals, Gregor T. The TV Ritual: Worship at the Video Altar. Boston: Beacon Press, 1981. Cantor, Muriel G. Prime-Time Television: Content and Control. Beverly Hills, CA: Sage Publications, 1980. Fowles, Jib. Television Viewers vs. Media Snobs:What TV Does for People. New York: Stein and Day, 1982. Adler, Richard; and Cater, Douglass, eds. Television as a CulturalForce. New York: Praeger Publishers, 1976. Snow, Robert P. Creating Media Culture. Beverly Hills, CA: Sage Publications, 1983. (chapter on television) McArthur, Colin. Television and History. London: British Film Institute, 1980. Curtis, James M. Culture as Polyphony: An Essay on the Nature ofParadigms. Columbia: University of Missouri Press, 1978. (sections on McLuhan) Lichty, Lawrence W.; and Topping, Malachi C. Lcomps.7. American Broadcasting: A Source Book on the History of Radio and Television. New York: House, 1975. Hastings Hammond, Charles Montgomery, Jr. The Image Decade: Television Documentary: 1965-1975. New York: Hastings House, 1981. Ellis, John. Visible Fictions: Cinema, Television, Video. London: Routledge & Kegan Paul, 1982. Wicking, Christopher; and Vahimagi, Tise. The American Vein: Directors and Directions in Television. New York: E.P. Dutton, 1979.

24 TVP III-4 Nonproduction books of interest

Gitlin, Todd. Inside Prime Time. New York: Pantheon Books, 1983. The Eighth Art. "Twenty-Three Views of TelevisionToday." New York: Holt, Rinehart and Winston, 1962. Lee, Robert E. "Television: The Revolution." New York: Essential Books, 1944. Weinberg, Meyer. TV in America: The Morality of Hard Cash. New York: Ballantine Books, 1962. Bunce, Richard. Television in th.,. CorporateInterest. New York: Praeger Publishers, 1976. Fletcher, James E., ed. Handbook of Radio and TV Broadcasting: Research Procedures in Audience, Program and Revenues. New York: Van Nostrand Reinhold Company, 1981. Clift, Charles, III; and Greer, Archie, eds. Broadcast Programming: The Current Perspective, 7th ed. Washington, DC: University Press of America, 1981.

Battcock, Gregory, ed. New Artists Video: A Critical Anthology. New York: E.P. Dutton, 1978. Wood, Donald N.; and Wylie, DonaldG. Educational Telecommunications. Belmont, CA: Wadsworth Publishing Company, Inc., 1977. Schneider, Ira; and Korot, Beryl, comps. and eds. Video Art: An Anthology. Managing Editor Mary Lucier. New York: Harcourt Brace Jovanovich, 1976.

Himmelstein, Hal. Television Myth and the American Mind. New York: Praeger, 1984. Marc, David. Demographic Vistas: Television in American Culture. Philadelphia: University of Pennsylvania Press, 1984.

25 TVP IV-1

Theses and Dissertations of interest

TamerKezban. "The Modality of the Visual: An Analysis of the VisualAspects of Television to Determine Its Visual Patterns."Ph.D., New York University, 1979. Turner, Louise Kreher. "The Television Direction ofa Video Tape of Original Choreovideo Dance: An Analysis of Selected Spatialand Design Elements for Choreographing Television Dance for Presentation ViaVideo Tape." Ph.D., New York University, 1969. Chenoweth, Stuart Curran. "A Study of the Adaptation ofActing Technique from Stage to Film, Radio, and Television Media in the United States,1900-1951." Ph.D., Northwestern University,1957. Pryluck, Calvin. "Sources of Meaning in Motion Pictures and Television." Ph.D., The University of Iowa, 1973. Rpt. New York: Arno Press, 1976. Bluem, Albert William. "The Influence of MediumUpon Dramaturgical Method in Selected Television Plays."Ph.D., The Ohio State University, Currie, Rolf Hector. 1959. "The Stylization of theDramatic Television Image." Ph.D., Stanford University, 1961. Hawes, Kenneth William, Jr. "A History of AnthologyTelevision Drama Through 1958." Ph.D., University of Michigan,1960. Hilliard, Robert L. "Concepts of DramaturgicalTechnique as Developed in Television Adaptations of Stage Plays."Ph.D., Columbia University, Rider, Richard Lee. 1959. "A Comparative Analysisof Directing Televisionand Film Drama." Ph.D., University of Illinois, 1958. Sturcken, Francis William. "An Historical Analysisot Live Network Television Drama from 1938 to 1958." Ph.D., University of Minnesota,1960. Greenberg, Daniel Arthur. "Television--Its Critics andCriticism (A Survey and Analysis)."Ph.D., Wayne State University,1965. Olson, Thomas Oscar. "A Basis for Criticism of theVisual Esthetic Elements of Television." Ph.D., Wayne State University, 1966. Wilber, Patricia. "The Quality of TelevisionDramatic Criticism."M.S. in Communications, Boston University, 1960. Willey, George Arthur. "The Visualization of Musicon Te1eviuion with Emphasis on The Standard Hour." Ph.D., Stanford University, 1956. Jakes, Frank Henry, Jr. "A Study of Standards Imposedby Four Leading Television Critics with Respect to Live TelevisionDrama." Ph.D., The Ohio State University, 1960. Gumpert, Gary. "Television Theatre as an Art Form."Ph.D., Wayne State University, 1963. Smith, Ralph Lewis. "A Study of the Professional Criticism of Broadcasting inthe United States 1920-1955." Ph.D., University of Wisconsin,1959. Rpt. New York: Arno Press, 1979. Barrett, John Townsend. "A Descriptive Study of SelectedUses of Dance on Television: 1948-1958." Ph.D., The University of Michigan,1968.

Salvaggio, Jerry Lee. "A Theory of Film Language." Ph.D., University of Michigan, 1978. Rpt. New York: Arno Press, 1980. Yearwood, Gladstone Lloyd. "Semiology in Television Criticism: A Study of Aesthetics and Ideology ina Television Program--Get Christie Love!". Ph.D., Ohio University, 1979.

26 TVP Periodical articles and book chapters V-1

Zettl, Herbert. "The Rare Case of Television Aesthetics."Journal of the University Film Association, 30, No. 2 (Spring 1978),3-8.

Miner, Worthington. "Adapting the Story for Television." In Max Wylie, Radio and Television Writing,rev, and enl. (New York: Rinehart & Company, Inc., 1950), pp. 444-450. Pekurny, Robert. "Coping with Television Production." In James S. Ettema and D. Charles Whitney, eds., Individuals in Mass Media Organizations: Creativity and Constraint (Beverly Hills, CA:Sage Publications, 1982), pp. 131-143. Burns, Gary. "Film and Video Theory in Television Production Manuals." The SAFTTA Journal, 2, No. 2 (November 1982), 5-16 (SouthAfrican Film and Television Technicians Association). Rpt. in Perspectives on the Teaching of Film and Television Production, ed. Xeyan Tomaselli and Graham Hayman (Grahamstown, : Rhodes University Print Unit, 1984), pp. 56-67.

Eco, Umberto. "Towards a Semiotic Inquiry Into the Television Message." Working Papers in Cultural Studies, No. 3 (Autumn 1972), 103-122.

27